Bovie Movie

Bob Munro is the dad of a dysfunctional family. He hires an RV to take the family on vacation. However Bob is NOT the best RV steering wheel operator in the neighborhood and the hilarity is added on by the fact that the brakes are about as useful as a chocolate fireguard. Bob first realizes it when the RV rolls (not literally) backwards into a line of shopping carts. Also Bob’s job is in danger if he doesn’t go to a very important meeting. Before you can say “COME BACK! COME BACK!,” things go gloriously, hilariously, Munro-annoyingly wrong due to the lack of brakes, Bob’s job, toilet waste not cleared out from the last rental and more hilarious stuff.

Phoenix officeworker Marion Crane is fed up with the way life has treated her. She has to meet her lover Sam in lunch breaks and they cannot get married because Sam has to give most of his money away in alimony. One Friday Marion is trusted to bank $40,000 by her employer. Seeing the opportunity to take the money and start a new life, Marion leaves town and heads towards Sam’s California store. Tired after the long drive and caught in a storm, she gets off the main highway and pulls into The Bates Motel. The motel is managed by a quiet young man called Norman who seems to be dominated by his mother.

Starring Ben Stiller and Owen Wilson in the title roles, this kitschy tongue-in cheek action comedy is based on the popular 1970s cop show of the same name. Ken “Hutch” Hutchinson (Wilson) and Dave Starsky (Stiller) are a tough pair of plain-clothes cops who drive a red and white Ford Torino and solve cases with the assistance of their informant, Huggy Bear (Snoop Dogg). While investigating their latest case, the duo realize that the culprit is none other than Reese Feldman (Vince Vaughn), the criminal involved in their first bust. Starsky & Hutch also features appearance by Juliette Lewis, Will Ferrell, and Matt Walsh, who, along with Snoop Dogg and Vaughn, all had roles in director Todd Phillips’ last film, Old School.

Director David Fincher followed the success of his dark and atmospheric crime thriller Seven (1995) with another exercise in stylish film noir, this time lifting the pallid atmosphere a notch to indulge in a fast-paced trip through the cinematic funhouse. Michael Douglas plays Nicholas Van Orton, a Scrooge-like San Francisco investment banker following in his father’s Scrooge-like footsteps. On Nicholas’s 48th birthday (the age at which his father committed suicide), his younger, free-spirited brother Conrad (Sean Penn) blows into town and gives Nicholas a special gift for “the man who has everything” — a ticket to CRS (Consumer Recreation Services), a company that constructs games custom-fit for each participant to provide, as CRS salesman Jim Feingold (James Rebhorn) cryptically puts it, “whatever is lacking.” Nicholas’s secure life begins a downhill slide as CRS masterminds a series of elaborate pranks, harmless at first, that quickly become malicious and life-threatening. Stripped of financial resources and convinced that he can trust no one, Nicholas begins to wonder if CRS is a front for a more covert operation, and if the game is in fact an attempt to steal his fortune and leave him for dead. Determined to fight back alone, Nicholas infiltrates CRS in order to “pull back the curtain and meet the wizard.

With this all-star Cinerama epic, producer/director Stanley Kramer vowed to make “the comedy that would end all comedies.” The story begins during a massive traffic jam, caused by reckless driver Smiler Grogan (Jimmy Durante), who, before (literally) kicking the bucket, cryptically tells the assembled drivers that he’s buried a fortune in stolen loot, “under the Big W.” The various motorists setting out on a mad scramble include a dentist (Sid Caesar) and his wife (Edie Adams); a henpecked husband (Milton Berle) accompanied by his mother-in-law (Ethel Merman) and his beatnik brother-in-law (Dick Shawn); a pair of comedy writers (Buddy Hackett and Mickey Rooney); and a variety of assorted nuts including a slow-wit (Jonathan Winters), a wheeler-dealer (Phil Silvers), and a pair of covetous cabdrivers (Peter Falk and Eddie “Rochester” Anderson). Monitoring every move that the fortune hunters make is a scrupulously honest police detective (Spencer Tracy). Virtually every lead, supporting, and bit part in the picture is filled by a well-known comic actor: the laughspinning lineup also includes Carl Reiner, Terry-Thomas, Arnold Stang, Buster Keaton, Jack Benny, Jerry Lewis, and The Three Stooges, who get one of the picture’s biggest laughs by standing stock still and uttering not a word. Two prominent comedians are conspicuous by their absence: Groucho Marx refused to appear when Kramer couldn’t meet his price, while Stan Laurel declined because he felt he was too old-looking to be funny. Available for years in its 154-minute general release version, the film was restored to its roadshow length of 175 minutes on home video; the search goes on for a missing Buster Keaton routine, reportedly excised on the eve of the picture’s premiere.

For twelve years, the methodic IRF agent Harold Crick has had a routine lonely life guided by his wristwatch. However, one day he hears the narration of his life in off, telling that he is going to die pretty soon. Meanwhile, he audits Ana Pascal, the owner of a bakery that is in debt with the IRF, and falls in love for her. Harold is advised by Professor Jules Hilbert to change his monotonous lifestyle while he tries to find Karen Eiffel, the author of the story of his life, who is researching means of killing the character, and convince her to change the ending of the story.

A gang of robbers, lead by career criminal Charlie Croker, create the largest traffic jam in Los Angeles history, giving them time to pull off a theft of gold bullion. They get away in their Mini Coopers, which are small enough to drive on sidewalks so they can make a clean get away before the traffic jam clears.

Director Bob Misiorowski helmed this straight-to-video actioner starring Jean-Claude Van Damme. Van Damme plays Jacques Kristoff, a special government agent assigned to protect Dr. Galina Konstantin, a scientist played by Laura Elena Harring (Mulholland Drive). When a group of terrorists hijack the train they’re riding and demand to see Konstantin, it’s up to Kristoff to defeat the bad guys before they get their hands on the biological weapons the doctor has with him. Also starring Tomas Arana and Susan Gibney, Derailed was released in Europe under the title Terror Train.

Death lurks, and two teenage girls try to figure out where he’s heading, in this sequel to the unexpected teen horror hit Final Destination. As Clear Rivers (Ali Larter), the only surviving passenger of the ill-fated Flight 180, waits in a mental institution, certain Death will claim her, Kim (A.J. Cook), who has begun to display precognitive powers, is driving along the highway when she sees a terrible accident in which several cars crash into a logging truck. Moments later, the horrible vision is gone, but Kim is certain she saw an accident that was supposed to happen but didn’t…and now Death will track down the souls he meant to take that day who slipped through his fingers. A police officer, Thomas Burke (Michael Landes), believes there’s a germ of truth in Kim’s story, and teams her up with Clear in hopes that together they can help prevent Death from snuffing out any more of the people involves in the accident that wasn’t. Tony Todd also returns from the first film as Mr. Bludworth.

Though some viewers might be put off by its length, graphic violence, and absence of likable characters, Sergio Leone’s final film is also a cinematic masterpiece. Spanning four decades, the film tells the story of David “Noodles” Aaronson (Robert De Niro) and his Jewish pals, chronicling their childhoods on New York’s Lower East Side in the 1920s, through their gangster careers in the 1930s, and culminating in Noodles’ 1968 return to New York from self-imposed exile, at which time he learns the truth about the fate of his friends and again confronts the nightmare of his past. The acting, the re-creation of the time period, the cinematography, and the music are all superb. However, even more important is Leone’s ability to make the film work on so many different levels: it’s both a criticism of gangster-film mythology and a continuation of the director’s exploration of the issues of time and history. Strange as it may seem, the violence and gore in the first half of the film turn into a sad elegy about wasted lives and lost love. The film’s strengths emerge only in its full 229-minute version — the 139-minute and other edited versions don’t make nearly the same impact.